“Christchurch people of the younger generations and strangers to the city who wander among the ordered prettinesses of the Christchurch Botanical Gardens, and pace along the pleasant winding paths …
A photograph of street art in the central city. The artwork depicts an excited blue alien positioned next to the letters "DTR!". Next to that, is artwork depicting Doctor Who and his Tardis. Above, is pink tag text with a Dalek in it. A section of the path in front of the artwork is sectioned off by road barriers.
Severe liquefaction was repeatedly observed during the 2010 - 2011 C hristchurch earthquake s , particularly affecting deposits of fine sands and silty sands of recent fluvial or estuarine origin. The effects of liquefaction included major sliding of soil tow ard water bodies ( i.e. lateral spreading ) rang ing from centimetres to several metres. In this paper, a series of undrained cyclic torsional shear tests were conducted to evaluate the liquefaction and extremely large deformation properties of Christchurch b oiled sand . In these tests, the simple shear conditions were reproduced in order to apply realistic stress conditions that soil s experience in the field during horizontal seismic shaking. Several hollow cylindrical medium dense specimens ( D r = 50%) were pr epared by pluviation method, isotropically consolidated at an effective stress of 100 kPa and then cyclically sheared under undrained conditions up to 10 0% double amplitude shear strain (γ DA ) . The cyclic strength at different levels of γ DA of 7.5%, 15%, 3 0 % and 6 0%, development of extremely large post - liquefaction deformation and shear strain locali s ation properties were assessed from the analysis of the effective stress paths and stress - strain responses . To reveal possible distinctiveness, the cyclic undra ined behaviour of CHCH boiled sand was compared with that of Toyoura sand previously examined under similar testing conditions
The New Zealand city of Christchurch suffered a series of devastating earthquakes in 2010-11 that changed the urban landscape forever. A new rebuilt city is now underway, largely based on the expressed wishes of the populace to see Christchurch return to being a more people-oriented, cycle-friendly city that it was known for in decades past. Currently 7% of commuters cycle to work, supported by a 200km network of mostly conventional on-road painted cycle lanes and off-road shared paths. The new "Major Cycleways" plan aims to develop approximately 100km of high-quality cycling routes throughout the city in 5-7 years. The target audience is an unaccompanied 10-year-old cycling, which requires more separated cycleways and low-volume/speed "neighbourhood greenways" to meet this standard. This presentation summarises the steps undertaken to date to start delivering this network. Various pieces of research have helped to identify the types of infrastructure preferred by those currently not regularly cycling, as well as helping to assess the merits of different route choices. Conceptual cycleway guidelines have now been translated into detailed design principles for the different types of infrastructure being planned. While much of this work is based on successful designs from overseas, including professional advice from Dutch practitioners, an interesting challenge has been to adapt these designs as required to suit local road environments and road user expectations. The first parts of the new network are being rolled out now, with the hope that this will produce an attractive and resilient network for the future population that leads to cycling being a major part of the local way of life.
A Transitional Imaginary: Space, Network and Memory in Christchurch is the outcome and the record of a particular event: the coming together of eight artists and writers in Ōtautahi Christchurch in November 2015, with the ambitious aim to write a book collaboratively over five days. The collaborative process followed the generative ‘book sprint’ method founded by our facilitator for the event, Adam Hyde, who has long been immersed in digital practices in Aotearoa. A book sprint prioritises the collective voice of the participants and reflects the ideas and understandings that are produced at the time in which the book was written, in a plurality of perspectives. Over one hundred books have been completed using the sprint methodology, covering subjects from software documentation to reflections on collaboration and fiction. We chose to approach writing about Ōtautahi Christchurch through this collaborative process in order to reflect the complexity of the post-quake city and the multiple paths to understanding it. The city has itself been a space of intensive collaboration in the post-disaster period. A Transitional Imaginary is a raw and immediate record, as much felt expression as argued thesis. In many ways the process of writing had the character of endurance performance art. The process worked by honouring the different backgrounds of the participants, allowing that dialogue and intensity could be generative of different forms of text, creating a knowledge that eschews a position of authority, working instead to activate whatever anecdotes, opinions, resources and experiences are brought into discussion. This method enables a dynamic of voices that merge here, separate there and interrupt elsewhere again. As in the contested process of rebuilding and reimagining Christchurch itself, the dissonance and counterpoint of writing reflects the form of conversation itself. This book incorporates conflict, agreement and the activation of new ideas through cross-fertilisation to produce a new reading of the city and its transition. The transitional has been given a specific meaning in Christchurch. It is a product of local theorising that encompasses the need for new modes of action in a city that has been substantially demolished (Bennett & Parker, 2012). Transitional projects, such as those created by Gap Filler, take advantage of the physical and social spaces created by the earthquake through activating these as propositions for new ways of being in the city. The transitional is in motion, looking towards the future. A Transitional Imaginary explores the transitional as a way of thinking and how we understand the city through art practices, including the digital and in writing.